discussions need to include examinations of power, expectation, harm and consent as well as clear and explicit articulations of responsibility.
When looking at these recommendations and examining the navigation of this
intersection, I am reminded of concepts within drama therapy that speak to the idea of balance, most notably Landy’s (1996a, 2007, 2009) role theory. Perhaps role theory could be useful in summarizing some of the concepts of this dissertation. In role theory an initial role is chosen and then that role’s counterrole is identified. “Roles adhere to their counterparts, called counterroles, creating dyads that are dynamic in nature, flowing toward and away from each other as the situation demands,” (Landy, 2007, p. 104). Counterroles are not merely the role’s opposites, but rather roles that sit on the other side of the main role, the juxtaposition between the two creating tension and instability. In this study, the roles of Teacher and Student could be seen as living in juxtaposition to the counterroles of Therapist and Client. All roles needing to exist in the same space, but sitting on different sides of what could be perceived as an uncrossable divide. Enter the guide role, “The guide is a transitional figure that holds together the role and counterrole, offering the possibility of integration” (Landy, 2007, p. 106). Within role theory, this guide role can help the role and counterrole “tolerate ambiguity and achieve balance” (Landy & Butler, 2012, p. 150).
Within this research several roles could be seen as playing guide roles between Teacher, Therapist, Student and Client, serving as reminders of the recommendations. These include the roles of Communicator, Wise Person, Critic and Artist. Perhaps most notably, the role of Communicator could help with transparent communication, ensuring the roles and counterroles understand each other and stay in dialogue. The Communicator could help in establishing clear language and means of dialoguing that include both student and faculty perspectives on the use
the program and would appear consistently through both written and verbal forms of
communication, continually looking to make sure that all voices are heard and acknowledged. The Communicator would not be quieted by shame, insecurity or political pressures and would serve as a way of bridging competing ideas, interests and agendas.
The role of Wise Person could step back and see the broader picture, using knowledge of pedagogy and education to enhance the learning possible within the intersection. With a broad view of the intricacies and multiplicities of the phenomenon, the Wise Person would work to make sure all views are represented. From this perspective, the role could help establish clear policies that would aid in ethically navigating between the various roles and counterroles. Seeing the larger picture, the Wise Person would aid in connecting drama therapy theories with theories of pedagogy in order to determine best practices and a common language. This role would also be in a strong position to help guide future decisions related to classroom teaching and curriculum development.
The Critic can be present to monitor and alert to moments when the counterroles of Therapist and Client are taking up too much space. The Critic would be helpful in navigating questions of assessment and evaluation, working to establish clear criteria and effective means of measurement. Through the critical lens, this role would also be on the lookout for moments of oppression, power imbalance and unethical behavior, calling attention to possible infractions before they progress too far.
And perhaps most importantly, the Artist can step in with a wide range of interventions to creatively play with and navigate the space in between. The Artist would offer flexibility and creativity to hold, balance and navigate the shifting terrain within the intersection. Through the use of the multiple tools of drama and theatre, inventive representation and the incorporation of aesthetics, the Artist would bring both perspective and elasticity to the phenomenon, loosening rigid patterns of responding and empowering educators and students to actively engage. The Artist would also use their dramatic tools to contain and direct the flow of affect and emotion, facilitating safe exploration.
With this constellation of roles we can be in a better position to educate, to occasion learning and to navigate the complicated intersections in drama therapy education. With their assistance we can move to implement the recommendations of this research in order to address some of the very real and pressing concerns and in order to continue moving the field forward. It
is time, in the development of drama therapy education, to begin having a more complex discussion about pedagogy and practice within the drama therapy classroom.
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